Young Scientific Music and Dance Forum : Conference with international participation

Simo Lazarov`s cycle â€žTimbre fantasiesâ€œ

Rossitsa Becheva — Sun, 16 Jan 2022 00:00:00 +0000

The cycle â€žTimbral Fantasiesâ€œ by Simo Lazarov is at the centre of research in the context of musical-spatial composition. An attempt has been made to derive the problems of electronic sound, timbre, musical space as an element of composition, perception, performance, interpretive and analytical approaches to the music, formal-structural and stylistic features.

The international folklore competition â€žPautaliaâ€œ - Kyustendil: establishment and development over the years

Margarita Krusteva-Stoichevska — Sun, 16 Jan 2022 00:00:00 +0000

The international folklore competition â€žPautaliaâ€œ â€“ Kyustendil was established in 2007. It is held annually in late June or early July; it is organized by Chitalishte â€žBratstvo 1869â€œ â€“ Kyustendil. The purpose of this report is to indicate the preconditions that led to the emergence of the forum, as well as to trace its development in the period from its establishment to 2016. The changes in the regulations during the years of its implementation are being followed. An analysis of the participants and the repertoire presented by them in each of the editions has been made. Finally, an analysis and summary of the overall development of the competition over the years has been made. As a contribution to the text, it can be pointed out that such a thorough review has been made for the first time; it includes an analysis of the participants in the international folklore competition, showing the strengths and weaknesses and prospects of the edition as a whole.

The unknown methodological heritage of Panka Pelishek (1899 â€“ 1992)

Polina Antonova — Sun, 16 Jan 2022 00:00:00 +0000

The report introduces and analyzes for the first time in Bulgarian musicology the content of unknown methodological texts by the pianist Panka Pelishek (1899 â€“ 1992). She is one of the significant figures in the Bulgarian piano culture of the last century, with a fundamental contribution to the development and establishment of the professional piano school in Bulgaria and abroad. The analyzed texts are an integral part of the pedagogical activity, through which Pelishek is actively involved in the debate on the aesthetic platform and guiding principles in our national school. The text reveals the Ð° little-known activity of Panka Pelishek in the field of piano-theoretical thought.

Cover â€“ from See how itâ€™s done to You get a pat on the shoulder (titles of popular Bulgarian songs)

Iliyan Paraskov — Sun, 16 Jan 2022 00:00:00 +0000

Cover is a common and valuable musical phenomenon that needs to be studied, well-defined, and classified. This report is an initial attempt of the author in this direction. Certain songs and artists provide arguments for coverâ€™s significance at a micro and macro-structural level. Cover is the main carrier of models and stylistic features that are modified and presented in different musical environments. The interpreted works influence the processes of development and evolution in popular music, unite them and promote the creation of new styles such as rockâ€˜nâ€˜roll. Covers of some types of music can be perceived more easily by a wider range of listeners. This is essential for the upgrading and cultivation of musical taste.

Music and singing formats around the world through the view of the vocal teacher

Ethien Levi — Sun, 16 Jan 2022 00:00:00 +0000

After 2000th, reality music formats became widespread. There, the emphasis is placed on the talent of the participants and the chance for successful realization. These formats are also very popular within a wide range of TV audiences. According to a part of the audience, the producers and the jury / judges impose the opinion that the participants develop a lot and grow professionally. According to viewers, this is a campaign of the producers in order to recruit more participants and ensure the greatest possible profit. Many viewers believe that the formats do not help the performers in their development and career. Is that so? Do the participants in the formats think so?

Contribution to understanding the repertoire of flute music written after 1950 through analysis under the main aspect of variations on Densitiy 21.5 by Edgard VarÃ¨se and Ã‰lÃ©gie pour flÃ»te by Marc-AndrÃ© Dalbavie

Birgit Karoh — Sun, 16 Jan 2022 00:00:00 +0000

less structured than the preceding periods in music history. To research music of the 21st century, a bridge must be first built from the already known research results of repertoire written around the time of World War II to the not so well-known end of the 20th century. Two works for solo flute are used for this purpose: Densitiy 21.5 by Edgard VARÃˆSE written in 1936/1946 and Ã‰lÃ©gie pour flÃ»te by Marc-AndrÃ© DALBAVIE written in 1990. The analysis, with a special consideration of the use of variation in these pieces, shows that the further development of the soundscape of the flute is contested in compositional terms through the extreme use of flute tones themselves (for example notes in the fourth octave) and variable elements found in the small elements like intervals or rhythmics. The detailed examination of the previously unexplored work Ã‰legie pour flute by DALBAVIE shows that a further development of the sound aesthetics is not achieved primarily through variable elements in the composition itself, but through variable elements in the sound structure that are used on bigger elements like whole phrases: extended techniques on the flute. The comparison of the two works presents the soundscape transformation in the flute literature between 1946 and the end of the 20th century which clearly differs in the use of variation. It is a progression away from the use of purely note-related elements towards an aesthetic that has a tonal and effective expression through the sound design of the flute.

A comparison between traversiere and flute

Marina De Palma — Sun, 16 Jan 2022 00:00:00 +0000

This article intends to analyze the differences between the ancient and the current musical praxis, highlighting the technical difficulties of both traversiere and modern flute. The difficulty of an eclectic approach in performing this sonata, consists in knowing how to realise a historically informed performance while inserting oneâ€™s own interpretation without being out of style. A further difficulty in performing the sonata with both instruments, consists in the awareness of technical and constructive differences, exploiting the strengths and masking the weaknesses. The enrichment resulting after this writing, will lead the performers not to be afraid to get involved in philological mistakes of praxis and to make them discover a critical approach to the text, inviting for a deeper reading of the score.

Music in virtual reality

Mirna Mlikota-DizdareviÄ‡ — Sun, 16 Jan 2022 00:00:00 +0000

Over the past few years, music has got a new medium/way of presentation, namely a virtual reality that entirely changed its ongoing development. The main subject of this article is to place focus on music and its survival in the virtual reality, providing an overview of various occurrences that affected this phenomenon. Some of those include online system, as well as possible responses to the issues like digitalization as positive or negative innovation, *struggle* with the commercial musician trends and their popularity for views and profit, as well as the key question whether we shall become known as a society by the stagnation of music in its development in the 21st century, or shall we use the advantages of the present technologies and develop music in the right direction?

Stylistic directions that influenced the arrival of the symbolic spirit in solo songs of Albanian composers during the years 1944-1991

Vita Guhelli — Sun, 16 Jan 2022 00:00:00 +0000

Symbolism in solo songs of Albanian Composers written in the second half of the twentieth century. My thesis presents a research on symbolism in the solo songs by Albanian composers written in the second half of the 20th century. The main aim of this research is to break down symbolism and some other aesthetic elements into solo songs form of the Albanian musical artistic community that was living and creating at a time of doubts and censorship, the era of totalitarian monist undemocratic communist ideology. Symbolism as a spirit in Albanian music art has been little elaborated, but there are no publications or books that elaborate on symbolism in musical art in general, especiall y research onsolo songs. This thesis requires sensitivity of approach, knowing the reason for the emergence of symbolism in the works of these composers. The symbolism in Albanian literature and professional music in the second half of the 20th century reflected the spirit of the Albanian artist. This is the main reason why I decided to do a study in this field. Another reason for my determination on this topic is my professional-concert journey which is concentrated on the solo songs of the Albanian composers. From the research in this area, we can conclude that symbolism in Albanian professional music of the second half of the 20th century has bold harmonic hues, similar to developed European and world countries, but has its characteristic or distinctive qualities. Another characteristic that makes the difference in the creativity of this period of Albanian music is the embodiment of the literary style of symbolism.

Saphische Ode

Ardiana Bytyqi — Sun, 16 Jan 2022 00:00:00 +0000

This analysis of the song â€žSaphische Odeâ€œ elaborates the poetic style in which poetry was written and problems as well as reasons â€“ why a certain language may be more suitable for writing poetry than another language, personal experience with the song â€žSaphische Odeâ€œ and personal opinion from a performerâ€˜s point of view regarding the song, as well as personal opinion about the performer.

Vocal difficulties for mid-career classical singers: A preliminary quantitative analysis

Michael Smallwood — Sun, 16 Jan 2022 00:00:00 +0000

In the penultimate chapter of her book SÃ¤ngerische Begabung, the soprano and pedagog Kathrin Graf refers to a classical singer ending his or her solo career as a â€žtaboo topicâ€, commenting that: â€žJust as in life, one seldom speaks of death, even though it awaits us allâ€¦the topic of how someone ends his singing career is hardly ever spoken about among singersâ€. So in the interest of full disclosure I would like describe my own vocal â€žnear death experienceâ€. I hope through my research to develop a better understanding of this very difficult period in the professional development of many singers. Why do so many professional singers seem to experience these crises, and what strategies can we use to deal with them? At the very least, this should provide valuable information for performers and teachers alike, even if the attrition rate amongst professional singers remains so high.

Bulgarian singing folklore â€“ a way for formation and building of moral values in children in kindergarten

Velichka Chausheva — Sun, 16 Jan 2022 00:00:00 +0000

The report considers Bulgarian song folklore as a possible way and means for the realization of the aesthetic education and overall development of kindergarten children. Emphasis is placed on the need of current educational programs to look for ways and appropriate conditions for its adaptation to the educational process. An attempt has been made to look for a parallel with the developed system of education and training of adolescents until the end of XX century. Some of the successfully designed programs and teaching aids from the establishment of the first kindergarten to the present day are being considered.

Experimental interactions between rhythmic structures characteristic of Bulgarian musical folklore and Brazilian popular music

Martin Lazarov — Sun, 16 Jan 2022 00:00:00 +0000

This text presents a brief overview and observationsof practical experience, applying rhythmic synthesis and mixing of uneven dimensions of Bulgarian musical folklore and some characteristic musical styles in Afro-Brazilian popular music. Polyrhythm and polymeter can also appear as some ways of interpretation. In open educational concerts in Sao Paulo, Brazil, many interactions between Brazilian musical genres samba, baiao, patido alto and Bulgarian dances paidushko, rachenitsa, daichovo and kopanitsa were discussed as well as alternative ways of their perception. The aim of this study includes opportunities for development, new applications and creative collaboration between musicians of different cultural backgrounds by experimenting with alternative methods of conducting the rhythmic variation.

The Italian Musica Leggera â€“ meaning and associations with the media industry

Dzana Ivanova — Sun, 16 Jan 2022 00:00:00 +0000

The topic of the importance of the Italian Musica Leggera as part of the world popular music culture is a subject of modern musicology and the study of popular culture, media etc. The aim of the present study is to interpret the essence of the phenomenon and to analyze how and why Musica Leggera forms its specificity and becomes a mainstream and model for the development of popular music culture. The report presents the meaning of the genre and the connections of the term with similar concepts in the musically popular. The origin, the places of development and the factors for its distribution are described contributing to the deep understanding of the reasons for the influence that Musica Leggera has on the entertainment (pop/â€estradaâ€) music in Bulgaria and in other countries. The space of radio, television and the Internet are shown as means of disseminating Musica Leggera in the modern media industry, but they are also an integral part of the essence of this phenomenon, which has specific artistic merits and aesthetic functions.

Theoretical writings on Chinese music by westerners in the 19th century

Yuanning Zhang — Sun, 16 Jan 2022 00:00:00 +0000

In the 19th century, Western countries hae dispatched a number of officials and missionaries stationed in China, in order to tighten the control over the Qing imperial court; most of them were well educated, and left a bibliography of classics on Chinese culture devoting themselves to translate and write books. Theoretical writings, however, have been overlooked by the academic as facing the strained social situation of the 19th century, where none of paper focusing on theoretical writings on Chinese music by westerners in the 19th century has been put forward. This paper here, through reading and collecting a mass of works, will firstly draw attention to make a list of comprehensive books with related contents to the topic of Chinese music published in the 19th century; secondly, the priority will be given to professional ooks specialized in Chinese music; important journals in foreign languages regarding Asian issues with published papers and articles on Chinese music, and finally, those special editions of Sinology researches in the West. Its aim, to sum up the above written, is to comprehend better, on one hand, how related aspects of Chinese music were understood by westerners, its accuracy and reliability; on the other hand, Westernersâ€™ overall cognition towards Chinese music in the 19th century, through which one truth should be pointed out: that 19th century enjoyed considerable attention, so as to form a clear line of theoretical writings on Chinese music by Westerners in the respect of understanding Chinese culture over the communication history between the West and China.

The study of the Baroque vocal traditions: an important tool in the developing classical voice

Androniki Antoniou — Sun, 16 Jan 2022 00:00:00 +0000

The topic of interest, will focus on the study of the Baroque singing traditions and specifically on the approach of the singers on matters of embellishment and improvised passages in da capo arias. It was the norm in the Baroque da capo arias for virtuoso singers (a title prominently asserted to castrati singers of the time) to add embellishments and cadenzas in order to exhibit their vocal abilities and musicianship. I will argue that the study of those traditions will accommodate a developing classical female singer with significant vocal abilities (dexterity, agility, good breath control). Furthermore, one has important musical skills to gain, such as the development of the musical ear, improvisational skills, musical understanding and interpretation. The castrati singers were renowned for their abilities in all of these aspects. Their abilities however, were not a godsend gift to compensate the brutal manner in which they preserved their angelic voice, while their body followed the natural course of adolescence. They undertook a solid musical education that equipped them with the knowledge to use their voice in their favor. Their ability to improvise gave them the chance to shine on stage with breath-taking fiorituras and of course helped them to gain confidence and self-esteem. To be able to stand on stage and give a convincing performance is essential to a singer. Even more so, is the ability to gain enough confidence to grow away from the score without the fear of totally dismantling the music. To support my argument I will attempt to exhibit the way in which da capo arias were sung, by asserting written out examples and accounts. I will focus on the importance of training the voice with perseverance and consistency to attain an ability that perhaps resembles the vocal quality of the castrati, capable to move the senses.

How pandemic measures alter theatre as a social-symbolic practice

Violeta Detcheva — Sun, 16 Jan 2022 00:00:00 +0000

Theatre is a social-symbolic practice, in which a theatrical performance is just one part of these praxes. If the audience is not present in the theatre, this does not necessarily mean that the contact between the viewer and the subject of the stage no longer exists. Nor does their encounter begin with the start of the performance. How do the COVID-19-measures change the theatre as social-symbolic practice? And how do they influence, for instance, the choice of the plays and the actors, of the form and her reception?

The dancing body â€“ gesture â€“ message

Anna Pampulova — Sun, 16 Jan 2022 00:00:00 +0000

In order to be able to think and talk about feasible communication through dance at all, first we must pay attention to the means of expression used by the art of dance, whose skillful expression and combination intrigues our innate tendency to seek a material explanation of the meanings we find in what we see through gestures and empathy in dance.

Dynamic analysis of movement and gesture in the initial actorâ€˜s training â€“ distinction, types of gestures, characteristics

Assia Ivanova — Sun, 16 Jan 2022 00:00:00 +0000

One of the main objectives of this text is to explore and present important practical aspects of acting training. The point of view I offer is from the position of an actor with solid training and experience as a pedagogue in the field of physical theater. In its theoretical and practical orientation, the text explores and describes some important characteristics of movement and gesture â€“ one of the main means of expression of the actor. The report presents and analyzes a practical development in the field of initial physical training of the actor. The theoretical framework I propose for practical research, is based on contemporary concepts of theatrical gesture. The main accents and object of the practical research are: distinguishing and redefining the concepts of movement and gesture; development of the dynamic characteristics of the movement and ways to reach/produce gesture; interrelations between the characteristics of the gesture code and specific emotions. With the help of this analysis, important principles are derived in the development of training exercises for the initial training in acting, which are adequate to the modern theatrical environment.

The plan as a way of expression

Aleksandar Tomov — Sun, 16 Jan 2022 00:00:00 +0000

When we look at a painting, say, a Rembrandt portrait, we do not wonder what is to the left or right of the sitter; we do not wonder what she is looking at; we presume that everything we need to know has been put into the picture â€“ into the frame â€“ by the artist. Performing language of the screen has the same criteria â€“ we presume that everything we need to know is there, and that those things, which are not on the screen are unimportant or irrelevant. This means that if a performer in the film does wonderful things that are not seen, then it is if he had not done them!

Verbal and musical choral actions in theatrical productions. Methodological and music staging aspects

Asen Avramov — Sun, 16 Jan 2022 00:00:00 +0000

The text is based on two realized theatre events. â€žMedeaâ€ by Euripidies (producer Desislava Shpatova, Plovdiv, 2020) and â€žOedipus The Tiran â€“ choruses) acting studio â€žSound, Text, Melosâ€ based on fragments from Sophoclesâ€™ tragedy (NBU, The Red House, Sofia, 2017). In the text, the author presents new approaches to the interpretation of traditional choruses in ancient Greek theater. He examines not only his own compositional techniques for creating choral episodes, but also various aspects of the preparatory rehearsal process, as well as describing some of the difficulties that theatre actors and students face in meeting such choral practices. He shares his preparatory and musicalstaging methods for the achievement of theatrical-musical unity and integrity in the choral episodes in the considered productions.

Comedy under socialism: some theoretical notes

Vanya Petkova — Sun, 16 Jan 2022 00:00:00 +0000

The report seeks to explore the place which comedy occupies in the â€žconsciousness of genreâ€ of socialism. On the one hand, the ideological expediency of the genre, as it is stated in many critical papers of the period, is being problematized. On the other hand â€“ the grounds of the so-called â€žcomedy boomâ€ in comparison with the significant absence of tragedy under socialism are studied as well.

The life and works of Ingmar Bergman

Mirela Vasileva — Sun, 16 Jan 2022 00:00:00 +0000

The article presents biographical moments of the life of Swedish film director Ingmar Bergman, which have influenced his lifeâ€˜s work and apear in the films he has made. Bergman himself is one of the main participants of the European auteur cinema of the second half of the 20th century. His films inspire a vast number of directors of the next generation, who continue the tradition of art cinema, including Woody Allen, Martin Scorsese, David Lynch, as well as Scandinavian authors like Lars von Trier and Thomas Vinterberg. This text aims at showing the lifeâ€˜s event, which shaped Bergmanâ€˜s personality and to give basis for further understanding of his work.

Editorial Board — Sun, 16 Jan 2022 00:00:00 +0000

Contents

Editorial

Yavor Konov — Sun, 16 Jan 2022 00:00:00 +0000

Editorial